Lecture 1: Introduction to Modular Synthesizers and Early Electronic Music

Introduction
The lecture focuses on the history and development of modular synthesizers and their impact
on electronic music.
The modular synthesizer is a type of electronic musical instrument that consists of different
modules that can be connected in various ways to generate sound.
Basics of Modular Synthesizers
Modular synthesizers consist of individual modules like oscillators, filters, and envelope
generators.
These modules can be patched together in various combinations to create complex sounds.
The Moog synthesizer was one of the first commercially successful modular synthesizers.
Parameters and Controls
Oscillators: Generate waveforms like sine, square, and sawtooth waves.
Filters: Modify the sound by cutting or boosting certain frequencies.
Envelope Generators: Control the amplitude of the sound over time.
Frequency Modulation (FM)
Frequency modulation involves modulating the frequency of one oscillator with another
oscillator.
This creates complex waveforms and rich timbres.
FM can be scaled and parameters can be controlled by another oscillator or envelope.
Filtered Noise
Noise sources can be passed through low-pass or band-pass filters to create unique timbres.
The cutoff frequency of the filter can be controlled by the keyboard.
Sample-and-Hold Generator
Sample-and-hold takes a signal and samples values from it in a periodic fashion.
It is often used with noise to create random parameters.
The output can be applied to an oscillator for frequency modulation.
Historical Context: Switched-On Bach
Wendy Carlos's "Switched-On Bach" album was instrumental in legitimizing the synthesizer as a
musical instrument.
The album was a commercial success and led to increased interest in modular synthesizers.
Institute of Sonology
Located in the Netherlands, the institute developed its own modular synthesizer from scratch.
Their synthesizer had unique modules like voltage-controlled envelope generators.
Silver Apples of the Moon
Composed with a Buchla synthesizer, this piece was one of the first recordings made for
commercial distribution with a synthesizer.
The piece uses both randomness and sequencers to create complex soundscapes.
Conclusion
Modular synthesizers have had a significant impact on the development of electronic music.
They offer a wide range of possibilities for sound manipulation and have been used in various
musical contexts.
These notes should provide a comprehensive understanding of the lecture's content, aiding in
preparation for any tests or exams on the subject.
Lecture 2: Technological Determinism in Music Technology
Introduction
The lecture focuses on the concept of Technological Determinism in the context of music
technology.
Technological Determinism is the idea that technology shapes society, culture, and even human
behavior.
The lecture aims to dissect this concept and examine its validity and implications in the realm of
music technology.
What is Technological Determinism?
Technological Determinism is often misunderstood and misused.
It is a complex concept that has different interpretations and dimensions.
It is not just about technology causing social change but also involves the belief that technology
evolves in a particular direction, and humans have little control over it.
Types of Technological Determinism
Normative Account: Technology should cause social change.
Unintended Consequences Account: Technology causes unintended social changes.
Logical Sequence Account: Technology creates social change in a logical sequence.
Normative Account
Technology should cause social change, but it doesn't necessarily have to.
It's more of a 'should' rather than a 'will'.
Unintended Consequences Account
Technology causes social changes that are unintended and often uncontrollable.
It doesn't remove human agency but suggests that technology has a life of its own.
Logical Sequence Account
Technology creates social change in a logical sequence.
One technology leads to another in a logical and sequential manner.
This is the 'purest' form of technological determinism according to the lecture.
Criticisms and Counterarguments
Technological determinism is often criticized for removing human agency.
It is also criticized for being Eurocentric and linear.
The lecture argues that humans still have agency and play a role in creating and introducing
technologies.
Examples in Everyday Life
People often give agency to technologies, e.g., "The MP3 has changed the way we listen to
music."
The language we use can sometimes imply that technology has more power than it actually
does.
The idea that current technologies are the 'best' is also a form of technological determinism.
Technological Determinism in Music Technology
The lecture questions whether the development of music technology supports or counters the
idea of technological determinism.
Examples are given of how music technology has been repurposed or used in ways that were
not originally intended.
The lecture argues that music technology poses an interesting challenge to the deterministic
approach.
Conclusion
Technological determinism is a complex and multi-faceted concept.
While it has some validity, it is important to remember that humans are active agents in shaping
technology.
In the context of music technology, the deterministic approach is often challenged by the role of
aesthetics and cultural factors.
Key Takeaways
Technological determinism is not a one-size-fits-all concept.
Humans have agency in shaping technology.
Music technology provides interesting examples that challenge the deterministic approach.
These notes should provide a comprehensive understanding of the lecture's content, aiding in
test preparation and further study.

Lecture 3: Hardware Hacking and Sound Synthesis

Introduction
The lecture focuses on hardware hacking and sound synthesis. The instructor demonstrates
various experiments and techniques to create sound using unconventional methods. The lecture
is hands-on and involves the students in building simple sound circuits.

Key Concepts
Feedback Loop
Using amplification to re-resonate a string and create a feedback loop.
The dampers on the keys can affect the feedback loop.
Electromagnetic Radiation
Devices like phones give off electromagnetic radiation.
The phone's electromagnetic radiation can be picked up by a device and converted into sound.
Acoustic Speaker
Conventional acoustic speakers work by a coil and a magnet moving back and forth.
Demonstrated how to connect a speaker to a circuit to produce sound.
Basic Oscillator Setup
Using a hex Schmitt trigger to build an oscillator.
The chip flips and flops between a zero and one output, allowing alteration between two
voltages.
The output of pin 2 is fed back into pin 1 through a resistor, causing the chip to oscillate.
Frequency and Resistance
The frequency of the oscillation can be changed by varying the resistance in the feedback loop.
Demonstrated how to use a photoresistor to vary the resistance and, consequently, the
frequency.
Capacitors
Different capacitors can set different frequency ranges for the oscillation.
Larger capacitors give lower frequency tones.
Diode Hack
Inserting a diode into the circuit can produce a more pleasing tone.
The diode is directional, so its orientation matters.
Low Pass Filter
A simple low pass filter can be created by inserting another resistor and a capacitor to the
output.
This gives two essential parameters to control the sound.
Improvisation Technique
The lecture ends with an improvisation session using the circuits built.
Students are encouraged to find a musical motive and repeat it, much like a drum circle.
Hands-On Experiments
Experiment 1: Feedback Loop
Using an amplifier to create a feedback loop with a string instrument.
Experiment 2: Electromagnetic Radiation
Using a phone to create sound through electromagnetic radiation.
Experiment 3: Acoustic Speaker
Connecting a speaker to a circuit to produce sound.
Experiment 4: Basic Oscillator
Building a basic oscillator using a hex Schmitt trigger.
Experiment 5: Frequency and Resistance
Using a photoresistor to vary the frequency of the oscillator.
Experiment 6: Low Pass Filter
Building a simple low pass filter using a resistor and a capacitor.
Summary
The lecture provides a hands-on approach to understanding sound synthesis and hardware
hacking. It covers key concepts like feedback loops, electromagnetic radiation, and basic
oscillator setup. The students participate in building simple circuits to produce sound and even
engage in an improvisation session to apply what they've learned.

Test Preparation
Understand the concept of a feedback loop and how it can be created.
Know how electromagnetic radiation from devices like phones can be converted into sound.
Be able to explain how a basic oscillator is set up using a hex Schmitt trigger.
Understand how varying resistance can change the frequency of an oscillator.
Know how to build a simple low pass filter.
Be prepared to explain the improvisation technique used in the lecture.
These notes should provide a comprehensive understanding of the lecture and prepare you for
any test on the topic.

Lecture 4: Turntablism and Digital Audio Control

Introduction
The lecture focuses on the use of turntables in contemporary practice, particularly in hip-hop.
Turntables serve as a rhythmic element, often in alternation with drums and vocals.
The lecture also explores the abstraction of turntables in the digital age.
Turntables in Hip-Hop
Turntables are commonly used in hip-hop as a rhythmic element.
They serve as a counter-interjection between vocals and the rhythm section.
In some hip-hop tracks, the chorus is replaced by DJ scratching instead of a sing-along.
Example: Eric B. and Rakim's "I Ain't No Joke"
Turntable serves as a response and fills the gap after the verse.
It adds rhythmic tension to push you into the downbeat of the next phrase.
Modern Techniques
Example: DJ Babu, DJ Qbert, DJ's Mellow, D Styles' "Felonious Funk" (2002)
Two DJs take solo breaks over a constant beat.
They use a small bit of vocal material for scratching.
The scratching is musically deployed, showing repetition and motifs.
Abstraction of Turntables
The essential feature of a turntable is the ability to control the speed of a rotating disk.
This is important because the rotating disk has momentum, which provides a tactile connection
to control musical time.
Digital Solutions
Technics SL D7 1200: Allows CD input and controls playback with a rotating disk.
Tascam TTM 1: Uses a component to ride on the disk and track its motion.
Serato Scratch: Uses conventional turntables to play records with a specially encoded control
signal.
The control signal is tracked by a computer and applied to any digital audio file.
Allows DJs to use their existing turntables and mixers.
Hybrid Systems
Numark NS7: Combines control of playback speed with built-in mixer and other tools.
Future of Turntablism
The lecture speculates on the future of momentum-based controllers.
Touchscreens lack the sense of momentum, which is crucial for turntablism.
DJs seem to prefer interfaces that represent playback time in a rotational sense.
Conclusion
Turntablism has evolved from a process of "corrosion" to abstraction.
The essential features of turntables are being pulled out and adapted for digital audio control.
The sense of momentum in a physically spinning disk is crucial for turntablism.
Questions and Discussion
Can you imagine other types of momentum-based controllers?
Will people continue to use things like Serato with conventional turntables?
What are the alternative interfaces that might emerge?
This lecture provides a comprehensive look at how turntables have evolved and are still relevant
in the digital age, serving as a crucial tool in contemporary music practice. It also opens up
questions about the future of turntablism and the kinds of technologies that may come to
replace or augment the traditional turntable.